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assert the place of imagination in historical construction
—not the imagination which invents things, but the one
which enables us to visualise them concretely or which
helps us to penetrate into the interior of not-like-minded
men.    It has been said of Vico, who did so much to
inaugurate a more historical way of viewing things in
the eighteenth century—and it has been equally true of
other people since that time—that in their attempts to
understand the earlier stages in the world's history they
have been assisted now by remembering how things
struck them when they were children, now by recalling
something they had seen when observing the successive
stages of a child's development, and now by considering
something anomalous that they had noticed when they
were studying a contemporary peasant.    It has been
suggested that a sympathetic friendship with a modern
Fransciscan might give a person half a clue to the com-
prehension of something in St. Francis of AssisL   And
it seems to be recognised that Carlyle contributed some-
thing to the comprehension of Cromwell by virtue of a
certain affinity which he must have recognised here and
there, and which gave him an end of the string to get
hold of.   In the last resort historical students must be
like actors, who must not merely masquerade as Hamlet
on one night and King Lear on another night, but must
feel so and think so, and really get under their skins—
the defective historian being like the defective actor who
does not really dramatise anything because, in whatever
role he is cast, he is always the same—he can only be himself.
Froude went further and said that the historian has to
produce the play or the epic, and is compelled to do this